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Essential War Metal: Eggs of Gomorrh Interview and Review

     Recently, I got the chance to do something I’d never done in all my time writing about music: interview a band. It’d been something I could have done (in theory) for a fair chunk of time – but there was always some reason I could never bring myself to hit up their PR; usually I was either too busy or too nervous or too both of those things.

     I finally got around to it, and frankly I’m pretty damn glad I did. I got to interview Eggs of Gomorrh, the absolutely savage and ravaging war metal band about everything from the cultural implications of war metal to their latest album (which I included as a sort of double-feature to go alongside the interview). All that being said, let’s get on with the show.



Eggs of Gomorrh
Krucyator Productions
18 March 2019

Genre: Black/Death Metal, War Metal
Location: Geneva, Switzerland
FFO: Archgoat, Sadomator, Blasphemy, Teitanblood, Proclamation, etc.



It’s not easy being a war metal band.

     In addition to all of the regular difficulties that seem to exist for everyone in the world of underground music, playing bestial black metal seems to come with its own additional challenge: how do you make it interesting? Although there are some obvious exceptions to the rule within the genre (Blasphemy, Damaar, Revenge, Conqueror, etc) It seems to me as if bestial black metal is very quick to fall down the rabbit hole of mediocre, “2 br00tal 4 u” music that exists somewhere in the negative zone between amusing self-satire and uninteresting jargon.

     I eventually reached a point when I was so tired of listening to all the Blasphemy wannabes of the world who named their albums shit like “Raping an Angel for his Satanic Majesty” that I became a sort of disgruntled old man (in regards to the genre); curling up into the depressing little metaphorical cave I’d carved myself from those aforementioned bands. Thankfully though, my cynicism about the genre was soon to be melted almost as meltily as that nazi’s face at the end of Raiders of the Lost Arc.

     I was minding my own business and digging through some charts on RateYourMusic when I came across Eggs of Gomorrh’s prior release, Rot Prophet. Although it had the war metal tag, it was rated highly enough that I decided I may as well give it a spin. And goddamn was I glad that I did. I was instantly blown away by the fact that a modern band could be producing such fresh and genuinely interesting war metal, and I became a pretty devoted follower of their material from that point on.



     That brings us to the actual topic of this review, the Swiss war metal bands latest EP, Outpregnate. From the top of the very first track, this new EP instantly struck me as being a yet another fresh take on the bestial black metal genre from the band. Although it maintained all the aspects that make some of the best war metal albums ever just so great (rawness, brutality, and a relentlessly pummeling sound) it seemed to also bring in a sound that can only be described as cavernous, and gloomy. In a way, this feels like the war metal equivalent to bands like Incantation.

     Still though, through the thick and gloomy fog that seems to linger around the release, you can still undeniably make out the bands quality that I think endeared them to a lot of us in the first place- their musical attitude of “you know what, fuck this. We can take bestial black metal to a whole new extreme without just playing recycled Blasphemy riffs over and over again.” And frankly, if that attitude were to spread all around the various subgenres of metal, I can’t say that wouldn’t do a hell of a lot of good.

But wait! There’s more! Keep reading if you’d like to see my exclusive interview with the band.


Continue reading “Essential War Metal: Eggs of Gomorrh Interview and Review”

Grulog’s Essential Stoner/Doom – Conan Interview

Photo Credit(s) – Matt Negus
Author: Grulog

I’ll tell you, 2018 has been a stellar year for doom. Something I didn’t see coming, but certainly can’t complain about.

So ah, yeah. The other day I was scanning my email – and I saw something to the effect of “would you like to review the new Conan album and interview the lead singer?”

Fuck yes, I’d like to listen to the new album a month before it comes out and interview the lead singer. I’d take either of those options and call it a win. Holy shit. I’ve been stoked for the new fucking album since it was announced.

beloved grulog

I was stoked enough when Metalsucks took my suggestion to review the new single “Vexxagon” (thanks Kayla!) – now that I’ve had a chance to peruse the whole album I can tell you it’s a contender for my favorite release of 2018 – easily in my top 5.


I’m actually not big on reviewing albums, but when it gets a little closer to the release date (9/14/2018, on Napalm Records) I’m thinking I’ll break my own rule and write something up.

As a matter of fact I’m listening to the new album as I write this, and I must say it’s as pleasant a listen the twentieth time as it is the first. I think (like the rest of their discography) this is one that’s going to age well.


Conan brings the fucking heavy. Hail Conan.


The Basics


Band Name: Conan
Label: Napalm Records
Country of Origin: United Kingdom
Years Active: 2006-2007, 2007-2008, 2009-present
Metal Archives Entry:
Official Site:
Members: Jon Davis (guitars/vocals, 2006-2007, 2007-2008, 2009-present), Chris Fielding (bass/vocals, 2014-present), Johnny King (drums, 2017-present)

The Interview

Hey Mr. Davis, thanks a lot for your time – and all hail the mighty Conan!
I’ve been a fan of you guys for several years now. In particular, I think there’s a bit of a Pavlovian association with the Conan comic series – every time I see one of your album covers it reminds me of the art style in the comics (particularly Horseback Battle Hammer). Your sound is pretty much the sonic interpretation of how I always imagined Conan to be – just a constant fucking powerhouse. So first and foremost, thank you for that reminder, and for doing what you do.
Please bear with me on the first question – it’s in 3 parts, and I kinda have to set the pins up before I knock them down.
1) It seems like, with every album post-Monnos, you guys have thrown in some tempo changes/faster parts as a sort of “palate cleanser” (either in songs, or with the new album with a truncated track of it’s own). I noticed it in the O’Neill era, then Lewis seemed to bring a jazz-influence in with some of the fills and faster parts. Now Johnny King seems to be bringing more of (what I’d refer to as) a “classic extreme metal” angle/sensibility to the table with “Existential Void Guardian”.
My questions are;
a) Do you go into the writing/recording process with these sorts of breaks in mind, or do they just kind of happen (planned v.s. organic)?
(Jon Davis): Actually, those faster songs are the easiest ones to write as they always seem to come together while we are fucking around in the studio. We just start playing something ‘un-Conan’ and Foehammer came about, then Revengeance came about when we were trying to play Grim Tormentor but faster. Paincantation was just me playing one note really fast and Johnny joined in. I think the version on the record is actually the first take.
b) Do you pick new members based (at least in part) on their particular styles and influences – or is it based on something else (and you just give them the creative room to explore during the writing/recording process)? Perhaps a combination of these things?
(JD): Well of course we choose members based up their individual playing abilities and I’ve always just wanted to know if they can play heavy. Anything else is a bonus. It’s funny because Johnny almost was overlooked for the role. He got in touch when we thought we had settled on someone else and we almost said no, just so we didn’t mess this other guy around. But I’m glad to say that we took our time and invited Johnny down for rehearsal, and he was perfect. Paul and Rich were perfect too, in their time, but their time has come and gone now and we’re really enjoying having Johnny in the band.
c) Is the inclusion of these “palate cleanser” type sections for the benefit of the fan/listener (ensuring the “caveman battle doom” continues to hit the listener to full effect), or more for yourselves to keep things fresh?
(JD): I don’t think we think about it too much really. I think that it IS important to keep things interesting but putting faster songs in into Conan seems pretty natural really. I listen to fast music (I’m listening to Wolfpack on a very bumpy flight to Auckland NZ currently for example) so writing a faster riff here and there feels perfectly normal.
2) I heard through the grapevine you guys are doing a set of Australian tours with the mighty Bell Witch. I must admit, I haven’t been this jealous of the Australian people since the age of 16 – when an exchange student informed me that his school had a bar adjacent to it, and he was able to drink there (legally) after school. How did the Bell Witch pairing come about, and is there any chance those of us in the states will be blessed with such a powerhouse lineup for the “EVG” tour?
(JD): I think drinking right after school would have ruined me but it doesn’t seem to have done Australia any harm. I doubt Conan will tour the US with Bell Witch, but you never know. This pairing was the idea of the booking agent I think, or maybe I suggested them, I honestly don’t remember. Either way, they are an INSANELY cool band and we’re very happy they agreed to join us.
3) I read a while back after watching one of your live shows a reporter to nearly soiled himself (I think he discovered the fabled “brown note” isn’t that much of a fable). There isn’t a question there, I’ll just never get a chance to say that in an interview again. But it does act as an interesting segue to my next question – when you write and record songs, are you doing so based on how they will sound on the album, or in a live environment?
(JD): More so in a live environment. Early on we never really gave it much thought, but as time has progressed and we have toured more, we notice different reactions from the crowd and I think our writing has followed. We’re a metal band at heart, all this doom and stoner metal bullshit is just dressing. With that in mind we really enjoy affecting a crowd, giving them songs they can go crazy to – I got bored watching people nod their head slowly to Krull all the time, the faster songs have always been more fun.
4) I feel like I already know the answer to this, but I have to ask – do you guys mic your amps in the studio?
(JD): Yes, obviously this is essential when recording.
5) Is there anything you’d like my readers to know – be it about the upcoming album, forthcoming tours, or otherwise?
(JD): Well, we are pretty busy in the latter part of this year and hopefully next year too with some touring and festivals. I guess we’ll be over to the USA soon enough, so keep an eye out for announcements.
6) Lastly, a selfish question – being a resident of Upstate New York (near the Pennsylvania border), is there any chance we’ll see see you touring anywhere in New York besides near the city?
(JD): Now, my geography is not too good within the USA. We played Rhode Island and also (I think) Rochester on our last tour. Does that count? I’m on a flight without wifi so I can’t check on a map, so I’ll have to keep this answer vague sorry!
I have been stoked for the release of this album, and have had it on pre-order since it went up on BandCamp. Thanks again for taking the time to answer my questions, it’s been a pleasure!
(JD): Cheers Corey, I enjoyed answering these questions.
Fuckin a right – Jon, if you’re reading this… Rochester is close enough. Your geography is spot on.
As of today (8/20/2018) Here’s when/where you can catch Conan on Tour;
30.09.18 UK – Sheffield / O2 Academy
02.10.18 NL – Eindhoven / Effenaar
03.10.18 DE – Bochum / Rockpalast
04.10.18 DE – Hamburg / Logo
05.10.18 DE – Berlin / Musik & Frieden
06.10.18 PL – Wroclaw / Firlej
07.10.18 PL – Warsaw / Poglos
09.10.18 LT – Vinius / Rock River Club
10.10.18 LV – Jelgava / Melno Cepuriso Balerija
11.10.18 EE – Tallinn / Sveta
13.10.18 FI – Helsinki / Blow Up 4 Festival
15.10.18 SE – Stockholm / Kraken
17.10.18 SE – Malmo / Plan B
19.10.18 DK – Copenhagen / Stengade
20.10.18 NL – Leeuwarden / Into The Void Festival
07.11.18 AU – Canberra / The Basement
08.11.18 AU – Melbourne / Max Watts
09.11.18 AU – Sydney / Manning Bar
10.11.18 AU – Brisbane / Crowbar
12.11.18 NZ – Wellington / Valhalla
13.11.18 NZ – Auckland / Whammy Bar
16.11.18 RU – Moscow / Aglomerat
17.11.18 RU – St. Petersburg / Zoccolo
23.11.18 UK – Nottingham / The Loft
24.11.18 UK – Leeds / Temple Of Boom
25.11.18 UK – Newcastle / Byker Grave Festival
26.11.18 UK – Glasgow / Audio
27.11.18 UK – Manchester / Rebellion
28.11.18 UK – Coventry / The Arches
29.11.18 UK – Cardiff / Clwb Ifor Bach
30.11.18 UK – Milton Keynes / The Craufurd Arms
01.12.18 UK – London / Boston Music Rooms
02.12.18 UK – Oxford / Buried In Smoke X-Mas Weekender

Grulog’s Essential Funeral Doom: Slow

Every once in a while, you stumble across a musical act that transcends artistic boundaries. To call people like this musicians alone wouldn’t be fair or accurate – they’re artists in the real sense of the word.

I listen to a fuck-ton (actual measurement) of metal – a bare minimum of 8 hours a day while I’m at work (and then, to mix things up, I listen to metal when I go home) – and I’ll tell you, I can count the number of metal bands who fall into the “artist” category on one hand.


Slow is one of those bands. I’m not here to review any albums – anything worth saying in terms of album reviews has already been done by minds much greater then my own (minds such as Cody motherfuckin Davis of “Metal Injection” and Master of Muppets from “Angry Metal Guy”).

In fact, unless a band approaches me I prefer to focus on the artist and how/why they do what they do. The reader can decide for themselves whether or not to check it out, and enter into the experience without any pre-existing bias.

And for a band like Slow, I feel like anything less would be doing my readers a disservice. This isn’t a “singles” band, this is a “listen to the whole album in one sitting and then contemplate your life” band.


The Basics:


Band Name: SLOW (Silence Lives Out/Over Whirlpool)
Country of Origin: Belgium
Years Active: 2007-Present
Metal Archives Entry:
Members: Déhà (Instruments, Vocals), Lore (Lyrics, Concepts, Bass)


The Interview:

What is the significance of “Silence Lives Out/Over Whirlpool” (SLOW)

(Déhà) : When I started this project twelve years ago, it was a counter-project for Yhdarl (my other very dark, suicidal-theme band). I wanted something which was metaphorical for what I wanted : a complete drone soundscape (Whirlpool), that is not violent (Silence). Out/Over is the meaning of “it goes everywhere”, if you will. I must admit I was very young at the time, but it still makes sense to me nowadays.


What made you choose Funeral Doom as the artistic medium for your work in Slow?

(Déhà) : I chose funeral doom because I wanted a way to express feelings that are a bit ‘trippy’, without necessarily being depressive (like album I and II). Starting from III, I was getting a little more influences from death/doom, but I stuck with funeral doom because I simply love this kind of music. There’s nothing more than this.


Lore did a phenomenal job capturing the essence of the music lyrically with Oceans (enough so that I had difficulty believing more than one person was privy to the project). Even the cadence of the words is perfect. What made you approach her specifically to write lyrics to Oceans?

(Lore) : Thank you.

(Déhà) : Lore did the most perfect job for Oceans. In the beginning, she was just ‘for help’, but after the amount of emotions she put into this album, as well as time and focus, there was no way I could not propose her to join the band. It became so evident to me. Obvious even.
She got it all right at first listen. That’s quite a sign, isn’t it?


Listening to your work in Slow from Gaia forward there’s definitely a progression in sound, with everything from guitar tone to the application and use of synth. Would you consider that to be due to growth as a musician, access to more and different equipment, a combination of these things, or something else?

(Déhà) : I believe yes, but mainly simply by going further in the music. I & II are, for me, the first “period” of the band (being instrumental and more drone-ish), III & IV are the second period, and starting from V, we have something else. I can’t stress enough the time spent to control my studio (hence production). It’s, I believe, a normal evolution.


All of your albums with Slow seem to take grand (and universal) archetypes and weave a story into and through them. 

-With Gaia, the synth kind of carried the narritive in place of vocals. 
-With Mythologiæ there’s a progression using mythological (greek, if i’m not mistaken) archetypes to give subconscious form to the journey of an individual.
-With Oceans, the journey/struggle of the individual is at the forefront and the ocean seems to be the metaphor.

My question is: Do you purposefully approach an album from the position of taking a larger theme and weaving a narrative throughout?

(Lore): I can’t speak for the previous albums as I wasn’t involved with the making of them, but with Oceans it was definitely the goal. Music is both very personal and universal – I find it important to find the right balance in that. We both want to express our thoughts and emotions, we want to tell our story, but in a way that the listener is able to understand everything and project these feelings onto himself. Making an awesome album has become almost easy nowadays, but making an album that truly touches people with its story and lingers in the mind is a far greater challenge.


One constant I’ve noticed on every Slow album is this – there seems to be a thread of hope in all the doom. It manifests itself differently on different albums – on Gaia it was purely the synth, on Mythologiæ it kind of traded back and forth between the guitars and the synth, and on Oceans (interestingly enough) the guitars themselves seemed to carry it.

A lot of Funeral/Death Doom bands seem to focus purely on despair/darkness (which is fucking awesome), and the ones who do try to add that contrast end up sounding cheesy and almost campy. If your albums were a slow moving storm, there’s always a ray of sunlight in the eye. I have to ask, do you add these aesthetic qualities to your music purposefully?

(Déhà) : I believe yes. I like to believe that Slow is mostly narrative, whereas other bands are a simple, crushing smash of despair in the face. Everyone can interpret it in his or her own way. I find Gaïa being insanely positive, for example.

(Lore) : I don’t know… I think it comes naturally rather than we spend a lot of time thinking about and perfecting aesthetics. It is what makes Slow Slow in the first place. Everything is very sincere, it is not merely an image we are trying to create of ourselves. We feel very deeply, both positive and negative feelings, and try to express this in our music. There’s always a spark of light somewhere in the darkness, if you choose to look for it hard enough.


It seems like, with the advent of the internet, a lot of artists simply write songs until they have enough to fill an album, and then release it. I’m certainly not the first person to notice it, but the “full album” is a disappearing art-form.

With Slow, it seems like your focus is more on writing the album as a whole (musically and conceptually) – where each of the individual pieces is part of a greater narrative and the albums are meant to be listened to in their entirety. Am I imagining this, or is that the case? 

: This is the case indeed. Every album for Slow, as stated, is narrative and brings forth a story. Gaïa… Well I believe it speaks for itself, as well as Mythologiae and the (definitely greek) content, while Oceans….

: I agree with Deha. We aim to create ‘a whole package’ rather than ‘just an album’ because it gives everyone so much more satisfaction. The songs on Oceans are indeed meant to be listened to as one full song – that way you will truly hear how the story unfolds.


Is there anything else you’d like readers/listeners to know or to keep in mind in regards to Slow?

: We are working on album VI right now, which is going to be a little different, but will contain the same crushing doom music. I would dare say that it is be a bit more ‘experimental’.

: That we are very thankful for all the reactions and support we receive from them. Furthermore, what Deha said. We are constructing a small monument as we speak, so keep your eyes and ears wide open.



So, VI is being recorded as you read this, and Lore is taking over bass duties and arrangements. Fuck yes.


Metal Stuff Interviews Italian Death Metal Outfit LECTERN

“Death metal must be a shockwave,with its aftermaths as lyrical subliminality like a shellshock! No compromise, no mercy!”
-Fabio Bava


First and foremost, the staff at Metal Stuff are all fans of the extreme sub-genres of metal. In particular, Old School Death Metal.

Usually we have to seek it out (through the net, mutual friends, record labels, etc), so when the guys in Lectern got ahold of us and wanted to do an interview – saying we were thrilled might be a bit of an understatement.

These guys fucking rip.



You can check out/grab a copy of the album here. Last I checked physical copies were sold out, but you can always snag a digital download for about 6 bucks.

I have nothing but good to say about the music these guys put out – so instead of an album review I’m going to say check out their bandcamp and decide for yourself.

‘Precept of Delator’
Via Nocturna

Metal Stuff: I have to say, I don’t hear about many metal bands from Italy. How is the metal scene there? And how difficult is it for an Italian death metal band to get a following compared to other places in Europe or the United States? Are there a lot of opportunities to play live shows at home, or do you have to travel?

Fabio: “We had and we have great bands here right now, if compared to thirty years ago. Italian outfits are well known if we speak about Lacuna Coil, Death Ss, Labyrinth and others. The scene is full in every genre, from hard rock to grind as we have also, quite good venues for the shows, but most of the bands prefer to throw shit one to the others. It is a very stupid attitude I think, as for the public, they prefer big names to the underground concerts. Mentality follows how the people is, and it is reflected also in the way musicians play and behave. Do you think is it allowable, that famous musicians struggle each other, through stupid comments on the web? If I would be the owner of a record company, I should fire them all in one instant! Music is not a fucking blog, I think! Am I wrong about that?”.

Marco: “I guess, as for every place you live, it gets easier to play time after time. It depends of course by your popularity. Italy has a great problem about metal music, not very much interesting by the public, especially for emerging bands. So it gets even harder. That’s why we prefer to play outside (of Italy)”.

MS: You guys have been around since 1999 now, and it looks like you’ve gone through a few lineup changes. How have your new members influenced your sound on the new album?

Fabio: “I am the main influence, leading the band into Florida old school death metal. We formed with the only aim, of playing that kind of music, with a brutal but not technical approach. Who comes and went off the band, before joining Lectern already knew the musical direction at first. I hate misunderstandings, you know! Lectern death metal must be a shockwave,with its aftermaths as lyrical subliminality like a shellshock! No compromise, no mercy!”.

MS: I really like the fact that you guys stick with an old school death metal sound on Precept of Delator. How would you say the new album compares to your previous work?

Fabio: “We have not to look backwards, to the previous records and songs we wrote. It is not a sort of challenge! It’s death metal, you cannot always label if old school or classic, it’s fucking death metal! Almost all bands, play in the same fucking way, brutal, splatter and slam, there are no recognizing sides, all is the same! Why? Old school is the only way, as I said before! The intent with the new album, was to surpass whatever we ever recorded
in the years. I thought that we needed the best and raw sound, first of all for the guitars. We returned detuning them down of four tones, got the right cabinet and the best studio to record! Essentially, the songs are more brutal, with grunts  and the right harsh attitude. It’s not easy to reach that point, and for the next works expect certainly more and better!”.

Marco: “This new album is for me, more calculated. Not rushed as the first. With this one, we wanted to focus much on the atmosphere than the technique, while in the first one we were a little show-off. I personally took care of the sound effects, introductions and middle sections”.


MS: I see you guys have played with some pretty big names (Angra, Sepultura, Incantation) is there any chance you will tour the United States in the future?

Fabio: “I hope so! We spoke about that many times, but we never found the real occasion to come along yet. You know, it’s very far from home, as we have to manage everything in all the aspects. Flights, stayings, coach, instrumentation and  amplification, wages, costs, venues, opening bands, merchandise, promotion and whatever. Playing in the United States will be the final leap into a sort of celebrity, and everything needs to be filled in all its forms. It is not just playing into another continent and Europe is different from North America! Yes, we hope to come one day, finally!”.

Marco: “If they call, we answer for sure, just keep that fake pizza away from me or I could kill someone! Anyway, it would be the perfect place for our music, the country where all began”.

MS: I hear a lot of old school death metal influence in your sound, what bands are you guys influenced by?

Fabio: “Sinister, Pestilence, Asphyx and Gorefest of the very beginnings, for the European side. Early bands of 1990’s Florida scene like Morbid Angel, Deicide and Monstrosity above all. Also the New York area is great with Immolation and Suffocation too, also from the American hinterland like Disincarnate, Incantation and Morta Skuld but without the necessity of being so  slow and doomish! I also appreciate some slam and gore bands, their ruthless approach is basic! I often listen to very old  bands like Cancer, Infernal Torment, Baphomet or Lemming Project. They were great combos with undeveloped ideas!
Not for their faults, but the reason was simply that labels begun not to be more so interested to death metal from the first half of the Nineties, from 1996 and on. I remember that Morgoth just the first name that comes into my mind, was another band in such period! If it is not death metal it is just fuck you!”.

Marco: “My drumming is based for the most on power metal of the 1990 and 2000, I got into death metal relatively later. Gamma Ray, Helloween and Rhapsody Of Fire for sure are bands I follow with attention, then some great inspirational drummers arrived later like Jordison, Mancino, Lombardo, Laureano and Kollias”.

MS:  What are your favorite songs on the new album and why?

Fabio: “As for myself, Palpation Of Sacramentarian kicks some Christian asses making me shitting in my pants alone, as for the first riff! Impressive, talented and fucking nasty as Satan!”.

Marco: “Fluent Bilocation is for me one of the most pleasant to be played, but I’m addicted to the final one, Discorporation With Feral. It gets a Slayer vibe that gets me every time!”.

MS: Is there anything else you want to tell us about the new album?

“It is a great record, buy it! Hush!”.

Lectern is:
Fabio Bava: vocals, bass
Pietro Sabato: guitar
Gabriele Cruz: guitar
Marco Valentine: drums

Contact Info:

Bisbetical (1999)
Salvific Of Perhaps Lambent (2010)
Lectern (2013)
Fratricidal Concelebration (2015)
Precept Of Delator (2016)

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